@Douglas James Professional Musician Re Pieter Wispelwey being the "Greatest Cellist in history", that's a pretty huge claim to make!! I just checked out a minute of his home recording of the Prelude from Bach's Cello Suite 1, and I'm sorry, but I can't share your enthusiasm over him!! I felt his playing was too fast, with somewhat of a cursory feeling to it!! Also, maybe I'm very sensitive in this area, but there were quite a few moments which sounded out of tune too!! Worst of all, it felt mechanical and I felt nothing from it!! That, to me, is what makes something great or not!! So, sorry... I will be sticking with Steven!! He is the best for me!!💜🎻
Intro to Bach suite: 00:48 Cello Suite No 1 in G major BWV1007 --- Prelude: 2:00 Allemande: 4:40 Courante: 8:30 Sarabande: 11:10 Menuet I - Menuet II: 14:19 Gigue: 17:53 Intro to suite 3: 20:14 About Allemande: 20:45 Intro to suite 3, part II: 21:28 Cello Suite No 3 in C major BWV1009 ---- Prelude: 22:05 Allemande: 25:48 Courante: 29:26 Sarabande: 32:20 Bourrée I - Bourrée II: 36:30 Gigue: 39:57 *Suite in the Eighteenth Century style, Frank Merrick ---- Sarabande: 44:58 *(No guarantee it is the correct name, but this is what I heard)
Thank you greatly! Although Bach is my favourite composer (and I have played all of the suites but on viola), some of his dances in the cello suites don't do anything for me to the point where I'd rather skip over them. The prelude from suite No.2 in D minor (not played by Isserlis here) just goes on and on and on and although there are interesting developments and modulations.... it goes nowhere ultimately. I've analysed it and some things make sense, but it's not as thrilling as the lively Courrante or as dark and ethereal as the Sarabande in the same suite. I could listen to those particular dances on repeat for days on end!!! So in short: thank you for the time stamps as I *will definitely* be using them! Much love from Australia - Liam, violist
@@liamnevilleviolist1809 The prelude to the second suite is not a dance. As my cello teacher explained to me, it is a mournful meditation probably written shortly after Bach returned from a trip to find his dear wife unexpectedly dead and buried. Bach turned to music for consolation but could find little comfort or resolution initially. He felt like Sisyphus perpetually rolling the boulder up the hill (the first three notes) only to have it push him back down the hill again (the next three notes). He searched but found no comfort in his music. After some time passed, he added dance movements which gave more consolation and joy. I have not heard this exact interpretation elsewhere, only the likely connection between the second suite and the death of his first wife. Don't expect joy, only despair and a little hope, from this deeply moving second prelude. It reminds me of the book by CS Lewis, A Grief Observed.
He's too humble I think - he's said he doesn't want to record them because he has nothing new to add. As you can see from my comment above, I beg to differ 🙂
Direct line from Casals. Steven's teacher was Casal's pupil, Jane Cowan, who became the director of Casal's Cello Centre in London which she relocated to Edrom in the Scottish Borders in the 1970s. Listen to this, then listen to Casal's version. I was one if Jane's pupils and I still recall her teaching this suite I Cap'n hear her now as I listen th Steven
So refreshing to hear a cellist playing the suites as they should be. We should be able to dance to them and in Stevens hands, we can. Such honest playing and so full of vitality. I think the audience should be bopping, or at least tripping and frolicking across the dance floor!
I’m no Isserlis but I do intend to record my 1st suite soon and there will be dancing. I imagine these would have brought the party DOWN in the 1700’s. And how many young people back then fell in love to these tunes.
Something supernatural takes place when a great musician - a Casals or an Isserlis - settles into these great compositions. As they transport us to a heightened realm, they themselves are also consumed by this great music and have such a close relationship to the notes that they, the notes themselves, seem to be channeling their pitches through, in control of, the agency of the performer, into and through the resonant cello, a unitary experience. To my ear, these familiar suites here seem flawlessly performed, a magician's feat, a gift from ancient Gods to us mortals, fortunate to be alive and able to hear these timeless, ever-new notes, whether live, or filmed, or recorded. Mesmerizing.
All the audiences are so lucky. I had started learning first and 3rd cello suite 2 years ago, totally agree with Steve, love love this video, I can watch this video until 70 years hopefully. 🤗 Thank you for sharing this inspiring video .🙏💕
Ouch ! Perhaps you're more impressed by polished performances which benefit from refined audio and general presentation. Judging from the wealth of appreciative comments, many of whom are possibly written by cellists, including myself, it appears you are a lone negative voice Richard. @@richardmuncey9860
As I was following along with my sheet music, I noticed that inserted a few trills that weren't written in. I love that he did that: it adds more interest to the piece without really changing anything. Phenomenal cellist!
There are treatises from the Baroque era that outline performance practices of the time. Ornamentation was encouraged and had certain appropriate applications.
Beautiful playing. I love the sound he draws. The wound gut strings really adds a depth, warmth, and voice like quality to the tone which is missing in a lot of the cellists’ sounds today who opt to use the high tension synthetic and steel strings.
Absolutely beautiful. What a treat it would have been to have been there and experienced this. I love his interpretation of Bach more than anyone else's.
Such mindful and artistic playing, larger than life and so spontaneous. Bravo! On gut we play! Thumbs up! As if it was played in church, yet it's merely a cafe...Hats off
quand on le voit, on imagine un sympathique original, plutôt bohème comme il en existe en Angleterre, mais dès qu'on l'écoute, on sait que rien n'est bricolé ou approximatif; quelle merveille; pourvu que ça dure ! when we see him, we imagine a nice original, rather bohemian as there are in England, but as soon as we listen to it, we know that nothing is cobbled together or approximate; Wonderful; Hope it lasts !
A beautiful moment, wonderfully shared. Steven Isserlis is a magician-- in this music which is so expressive for the solo player, he shines. He's in his element. Enjoy!
This was wonderful, especially the last three movements of the 3rd Suite - I don't think I've ever seen them played with such energy and momentum, which must be exactly what Bach had in mind (or perhaps better!). Fantastic :-)
I agree, it's really amazing. never heard of him until this moment, but will be looking for more music by him. I heard Steven Isserlis recently discovered the manuscript, I hope it will be published so we can all explore this suite.
When I was a boy I studied under Steven teacher, Jane Cowan at her house in Edrom in the Scottish Borders. Steven was a young man then and he would frequently visit... Jane and her gut strings.. 😊 more challenging with a fiddle. Pure gut e strings break daily! I still have a violin strung with pure gut in her memory. Although arthritis has killed by left hand.
I’m probably not the only viewer who would love to see more information below the video - - the venue, the date and time, something about his instrument, and a short bio.
Did anyone notice that Steven uses left hand pizz with some phrases? Probably to emphasise the notes from the bassline and make some of them more 'crispy' (and for joy obviously :D )... e.g. in the C Major Prelude shortly after 22:05 when he hits the low C. I've never seen that before and never played like that myself... but Steven's idea is just marvellous and more important sounds marvellous! Can we just appreciate this level of technique... Bach and left hand pizz does officially work, guys!! :))
LH pizz is pretty standard technique for cellists often used to help the notes speak. Steven Isserlis is a fantastic player, make sure you listen to his Schumann. His Schumann is by far the best out there! I loved this Bach. I'm so glad we have these performances on TH-cam to show our pupils who wouldn't otherwise get the opportunity to see the top players perform.
More control. Perhaps closer to the bridge so less bow travel is necessary...brighter sound and more overtones can be produced. Gary Karr did it on the bass.
Casi todo Excelente. a Excepción de Lo Primeros Compaces de La SUITE. Simple y Sencillamente porque Estuvo Muy " QUEDO". Aún ASi...Es La Mejor Técnica en El Manejo FLUIDO y RELAJADO Del ARCO de Todos Los Tiempos. 👍
Just noticed that he will sometimes play, when moving to an open string, a LH pizzicato along with the arco bowing, to help the sound. Interesting! Anyone else play like this? Is it a 'cello thing? eg 17:12, 17:42
It's done to vibrate the string before it's played, so the sound comes out faster/easier. With lower strings on the cello, the string sometimes is less responsive and the sound doesn't come out when bowed, which can be really annoying, hence the (silent) pizz. It's quite common for cellists to do this.
Incredible performance!! I will be the first to admit that I am naive to the custom ... but why does he walk “off stage” only to come right back again?
Beautiful playing. Sometimes I wish he would use a little more bow,but so many excellent things in his interpretation that override little criticisms that I might have.
This man’s bow hand is a thing of wonder. I mean, I think of him firstly as a great musician. Like, great. I’m almost not interested as in him as a cellist, I just love the musician. But when we get down to cello nuts and bolts, his left hand is completely rock solid, but my god that bow arm and particularly hand. The opposite of how I play technically with the bow, but that doesn’t mean I don’t appreciate what he is doing - the opposite. I don’t understand how he gets such huge tone with such relaxation in the right hand. Some muscular tension is just a physical reality to big tone, and none is evident.
I’m not a beginner - I have ideas about how he is doing what he does, but the thing is every technique is dependent on the individuals unique physical anotomy, so the the real truth is that even if he articulated everything he consciously learnt, it wouldn’t *really* work for anyone but him. Mechanically, I see very little tension across the back of his hand, and huge mobility both vertically and horizontally with the wrist which means it’s going through his thumb - because there isn’t anywhere else it can be going. How much tension he is putting through it is impossible to know - and even if he described it, it would still be his subjective opinion on what he feels is a lot or a little, but, definitely, I see less movement by far on the underside of his hand. Even that begs questions. How hard is the bow being pushed into the underneath of his fingers for example. I mean, if there was *no* pressure, the bow would fall out of his hand. We can chase stuff like this forever. In the end we just have to admire and enjoy what he does, and find what works for us
Gut strings and a very nice cello? Also I don't think you need any tension in your hand in order to get big tone, just arm weight, bow speed, point of contact etc. You're pulling the string not pushing it down.
@@debbiemcgregor3311 if you have no tension in your hand, your bow will fall out of the bottom of it. Some tension is just a reality - and describing it is subjective. As an example , you could watch Jaqueline du Pre’s famous performance of the Elgar cello concerto - she almost seems to be pushing her elbow over the bow in places to get more downwards pressure on it. Not what I’d do, but she definitely does. Also, my understanding is that gut strings project less, but that could be me - I’ve always stuck to steel core.
His bow technique, mainly the fluidity and flexibility of the wrist and fingers, is incredible
@Douglas James Professional Musician
Re Pieter Wispelwey being the "Greatest Cellist in history", that's a pretty huge claim to make!! I just checked out a minute of his home recording of the Prelude from Bach's Cello Suite 1, and I'm sorry, but I can't share your enthusiasm over him!! I felt his playing was too fast, with somewhat of a cursory feeling to it!! Also, maybe I'm very sensitive in this area, but there were quite a few moments which sounded out of tune too!! Worst of all, it felt mechanical and I felt nothing from it!!
That, to me, is what makes something great or not!! So, sorry... I will be sticking with Steven!! He is the best for me!!💜🎻
Everything about him is incredible!!💜
AFTER THE FIRST TWO MEASURES MY MEMORY IS LOST !!!
No better than thousands of other string players
A man walks into a bar ….. and there he is playing the suites. 😮😮😮😮 Thank you for posting this for everyone to enjoy! ❤
He is a very known artist all over the world
Intro to Bach suite: 00:48
Cello Suite No 1 in G major BWV1007
---
Prelude: 2:00
Allemande: 4:40
Courante: 8:30
Sarabande: 11:10
Menuet I - Menuet II: 14:19
Gigue: 17:53
Intro to suite 3: 20:14
About Allemande: 20:45
Intro to suite 3, part II: 21:28
Cello Suite No 3 in C major BWV1009
----
Prelude: 22:05
Allemande: 25:48
Courante: 29:26
Sarabande: 32:20
Bourrée I - Bourrée II: 36:30
Gigue: 39:57
*Suite in the Eighteenth Century style, Frank Merrick
----
Sarabande: 44:58
*(No guarantee it is the correct name, but this is what I heard)
Thank you greatly! Although Bach is my favourite composer (and I have played all of the suites but on viola), some of his dances in the cello suites don't do anything for me to the point where I'd rather skip over them. The prelude from suite No.2 in D minor (not played by Isserlis here) just goes on and on and on and although there are interesting developments and modulations.... it goes nowhere ultimately. I've analysed it and some things make sense, but it's not as thrilling as the lively Courrante or as dark and ethereal as the Sarabande in the same suite. I could listen to those particular dances on repeat for days on end!!!
So in short: thank you for the time stamps as I *will definitely* be using them! Much love from Australia - Liam, violist
@@liamnevilleviolist1809 The prelude to the second suite is not a dance. As my cello teacher explained to me, it is a mournful meditation probably written shortly after Bach returned from a trip to find his dear wife unexpectedly dead and buried. Bach turned to music for consolation but could find little comfort or resolution initially. He felt like Sisyphus perpetually rolling the boulder up the hill (the first three notes) only to have it push him back down the hill again (the next three notes). He searched but found no comfort in his music. After some time passed, he added dance movements which gave more consolation and joy. I have not heard this exact interpretation elsewhere, only the likely connection between the second suite and the death of his first wife. Don't expect joy, only despair and a little hope, from this deeply moving second prelude. It reminds me of the book by CS Lewis, A Grief Observed.
Thanks mate
정말 감사합니다. 바흐의 무반주첼로 모음곡을 자주 듣곤했지만 전주고, 알망드,쿠랑트, 사라방드, 미뉴에트,지그형식으로 변화되는 것을 시간적으로 알려주시니 더 잘 감상하게되었습니다. 정말 감사합니다.❤
What I love about Isserlis’ playing is that he IS the music. I am transported to another place, as I see that he is, too!
Of couse! Such a great cellist he id
Steven Isserlis is a remarkable cellist and musician. One of a kind.
His interpretation of Bach is masterful and IMHO underrated.
He's too humble I think - he's said he doesn't want to record them because he has nothing new to add. As you can see from my comment above, I beg to differ 🙂
No better than thousands of others
Direct line from Casals. Steven's teacher was Casal's pupil, Jane Cowan, who became the director of Casal's Cello Centre in London which she relocated to Edrom in the Scottish Borders in the 1970s. Listen to this, then listen to Casal's version.
I was one if Jane's pupils and I still recall her teaching this suite I Cap'n hear her now as I listen th Steven
@@richardmuncey9860 Oh, up ya nose, Sarkey.
So refreshing to hear a cellist playing the suites as they should be. We should be able to dance to them and in Stevens hands, we can. Such honest playing and so full of vitality. I think the audience should be bopping, or at least tripping and frolicking across the dance floor!
I’m no Isserlis but I do intend to record my 1st suite soon and there will be dancing. I imagine these would have brought the party DOWN in the 1700’s. And how many young people back then fell in love to these tunes.
Tears! 😂 Remarkable! And speechless!
Take your "meant to be played" and blow it right out your ear.
Playing the violin you are either dancing or singing...Paul Roland .Hungarian /USA string teacher.
Absolutely gorgeous playing and friendly person. I would have loved to be watching and listening to him in such a lovely setting ❤
Something supernatural takes place when a great musician - a Casals or an Isserlis - settles into these great compositions. As they transport us to a heightened realm, they themselves are also consumed by this great music and have such a close relationship to the notes that they, the notes themselves, seem to be channeling their pitches through, in control of, the agency of the performer, into and through the resonant cello, a unitary experience. To my ear, these familiar suites here seem flawlessly performed, a magician's feat, a gift from ancient Gods to us mortals, fortunate to be alive and able to hear these timeless, ever-new notes, whether live, or filmed, or recorded. Mesmerizing.
He’s so happy and transcended while playing. I love this.
Wow the good fortune of those audience members to be this up close to experience this performance 🎶❤️
Chaque fois qu'on y revient, le même choc, la même émotion; un artiste et un musicien hors pair
Lovely, made all the better by Steven Isserlis's words and warmth.
I love the insight into the Allemande. I'm learning no. 1 and that Allemande always takes me for a woodland ramble rather than a dance.
Stunning, passionate and deliciously lyrical playing from this ever-masterful cellist, and beautifully filmed in the cosy environs of Fidelio O Cafe
music by Steven Isserlis always surprises and fascinates, regardless of time
Tuve el placer de verlo en el reina Sofía de velencia, menuda gozada, tuvo el detalle de dos vises fantasticos
All the audiences are so lucky. I had started learning first and 3rd cello suite 2 years ago, totally agree with Steve, love love this video, I can watch this video until 70 years hopefully. 🤗 Thank you for sharing this inspiring video .🙏💕
Steven Isserlis plays Bach as though he were in the composer's mind...I am convinced that his interpretation brings to life the vision of Bach.
Not particularly special
Ouch ! Perhaps you're more impressed by polished performances which benefit from refined audio and general presentation. Judging from the wealth of appreciative comments, many of whom are possibly written by cellists, including myself, it appears you are a lone negative voice Richard. @@richardmuncey9860
I never heard nothing so beautiful
Now go listen to Bach's St. Matthew Passion. You'll be left in tears. :)
I love seeing a classical musician smile while they are playing such sublime music… I’m reading Isserlis’ book on the suites as I type… extraordinary!
As I was following along with my sheet music, I noticed that inserted a few trills that weren't written in. I love that he did that: it adds more interest to the piece without really changing anything. Phenomenal cellist!
That was common in the baroque era do to that. I forgot what it was called but musicians would add embellishments to the music.
There are treatises from the Baroque era that outline performance practices of the time. Ornamentation was encouraged and had certain appropriate applications.
Beautiful playing. I love the sound he draws. The wound gut strings really adds a depth, warmth, and voice like quality to the tone which is missing in a lot of the cellists’ sounds today who opt to use the high tension synthetic and steel strings.
Steven, you could never disappoint , you communicate to all of us and share your knowledge and love of what you play. Gorgeous all the way .
I love this so much! Thank you for sharing it with the world.
Thank you for posting this. It's what I needed during these times.
Absolutely beautiful. What a treat it would have been to have been there and experienced this. I love his interpretation of Bach more than anyone else's.
No alcanzan las palabras para describir el placer de escuchar música de Bach ejecutada por Steven Izzerliss. Bravo!🎉
🎉
Do you really think that you'd be able to pick him out of 30 innocent ear renditions?
@@richardmuncey9860 Yes. But you couldn’t.
Beautiful! What a C major Prelude! So much breathing with the music! And the whole suite. Now that is living through music. Bravo Mr Isserlis!
Such mindful and artistic playing, larger than life and so spontaneous. Bravo! On gut we play! Thumbs up! As if it was played in church, yet it's merely a cafe...Hats off
The church and the cafe (ok, coffeehouse) were 2 venues in which Bach played his music which he dedicated to God.
quand on le voit, on imagine un sympathique original, plutôt bohème comme il en existe en Angleterre, mais dès qu'on l'écoute, on sait que rien n'est bricolé ou approximatif; quelle merveille; pourvu que ça dure !
when we see him, we imagine a nice original, rather bohemian as there are in England, but as soon as we listen to it, we know that nothing is cobbled together or approximate; Wonderful; Hope it lasts !
A beautiful moment, wonderfully shared. Steven Isserlis is a magician-- in this music which is so expressive for the solo player, he shines. He's in his element. Enjoy!
Read table for two to appreciate the authors collaboration with Steven Isserlis for the short story! Both great works of art!Larry Blivas
I came to hear the Suite 3 prelude, wow, I love the way you play that, Steven!
Great playing (as always) and great venue! :-) Sad to have missed experiencing this in person but really thankful for the TH-cam upload.
Just beautiful, amazing, i wish these videos would hace More Views.
Who ever view this video is the luckiest person in the universe. 🥰
Magnificant. Bravissimo. Thank you SO much for posting. Looking forward to reading your book.
This was wonderful, especially the last three movements of the 3rd Suite - I don't think I've ever seen them played with such energy and momentum, which must be exactly what Bach had in mind (or perhaps better!). Fantastic :-)
My god! From memory without sheet music too! Amazing. The Australian guitarist John Williams does a fantastic version of his own as well.
Absolutely stunning.
I loved this interpretation! it is impressive how it can portray with its sound that landscape hidden behind the notes of Bach's suite.
Wonderful. Thank you Stephen for sharing. Please don’t stop.
Don’t let the media fool you. Steven is an advance AI, mistake is impossible.
Glassy smooth! Reminds me of Szerying... Thx much
Amazing technique and performance.
Wow! That Frank Merrick piece is gorgeous! Thank you.
I agree, it's really amazing. never heard of him until this moment, but will be looking for more music by him. I heard Steven Isserlis recently discovered the manuscript, I hope it will be published so we can all explore this suite.
Gut strings are sounding very well.
The Allemande in the 1st suite is really super.
When I was a boy I studied under Steven teacher, Jane Cowan at her house in Edrom in the Scottish Borders. Steven was a young man then and he would frequently visit... Jane and her gut strings.. 😊 more challenging with a fiddle. Pure gut e strings break daily! I still have a violin strung with pure gut in her memory. Although arthritis has killed by left hand.
I was also at edrom 1979-81. Amazing opportunity to study with Jane. Sorry to hear about your arthritis
When he plays, he becomes one with the music.
Beautiful
Thank you so much, its a real treat!
So so beautiful!
Bravo bravo!! 😃 👏 👏 🎶 🎶 🎻 ♥️
Thanks for letting us know about the book, have just been to "the online book store with A" .
Stunning sound by the bow of the freedom. The bow is so light, but Sound is not light.
Truly virtuoso performance!
Genius!
Much better than Rostropovich, who just saws his way through these superb suites. Thank you a thousand times.
Wonderful!!❤️🎻
I’m probably not the only viewer who would love to see more information below the video - - the venue, the date and time, something about his instrument, and a short bio.
Simplesmente lindo demais, é mágico
Superb!
a great artist, indeed!
So wonderful - the venue is so >. I long to visit!
Love the gut strings
as always ideal and unusual
Did anyone notice that Steven uses left hand pizz with some phrases? Probably to emphasise the notes from the bassline and make some of them more 'crispy' (and for joy obviously :D )... e.g. in the C Major Prelude shortly after 22:05 when he hits the low C. I've never seen that before and never played like that myself... but Steven's idea is just marvellous and more important sounds marvellous! Can we just appreciate this level of technique... Bach and left hand pizz does officially work, guys!! :))
LH pizz is pretty standard technique for cellists often used to help the notes speak. Steven Isserlis is a fantastic player, make sure you listen to his Schumann. His Schumann is by far the best out there! I loved this Bach. I'm so glad we have these performances on TH-cam to show our pupils who wouldn't otherwise get the opportunity to see the top players perform.
Awesome thank you SI
Yes Amazing sound from modest bow movement.
More control. Perhaps closer to the bridge so less bow travel is necessary...brighter sound and more overtones can be produced. Gary Karr did it on the bass.
Браво ❤ ❤❤
Suite 3 starts at 22:10
it gives the impression that his hands were part of another body...he plays with his soul.
Beatifull!!!!!!!!!!!!!!
Love to purchase the Frank Merrick piece. How? Perhaps you could record the complete suite. Thank you, the sarabande was beautifully played.
Casi todo Excelente. a Excepción de Lo Primeros Compaces de La SUITE. Simple y Sencillamente porque Estuvo Muy " QUEDO".
Aún ASi...Es La Mejor Técnica en El Manejo FLUIDO y RELAJADO Del ARCO de Todos Los Tiempos. 👍
Thank you. Are your bowings available to the public? Love your playing.
Yes, you can see them in this video
@@euomu LOL
What a wonderful treat Mr Isserlis. Thanks. How does it stay so quiet in spite of traffic outside?
Excellent microphone placement and settings - look up Unidirectional Microphone
¡GRAN ARTISTA! FORMIDABLE INTÈRPRETE DE VIOLONCELLO.gregorio paniagua Dir.AtrivmMvsicae.Madrid~España. Lavs Deo Gratias: Bach- Isserlik
Just noticed that he will sometimes play, when moving to an open string, a LH pizzicato along with the arco bowing, to help the sound. Interesting! Anyone else play like this? Is it a 'cello thing? eg 17:12, 17:42
It's done to vibrate the string before it's played, so the sound comes out faster/easier. With lower strings on the cello, the string sometimes is less responsive and the sound doesn't come out when bowed, which can be really annoying, hence the (silent) pizz. It's quite common for cellists to do this.
Sometime to get an open string to speak quicker a slight left hand finger helps.
Especially on lower (thicker, heavier) strings.
Anyone have a reference for the encore? Is there music available?
Incredible performance!! I will be the first to admit that I am naive to the custom ... but why does he walk “off stage” only to come right back again?
Concert tradition. Also, a stretch of the legs is always nice after sitting...😊
How might one find the sheetmusic for the Franck Merrick suite? That sarabande is gorgeous!! I've scoured online and can't find it anywhere.
How silky the right wrist is my goodness
Super playing I’m on the phone will call you shortly getting my hair permed- might help my playing
If Mozart had played the cello, I imagine this is how he would have played the Bach Cello Suites. I mean this as a (great) compliment, by the way.
Not to Bach!
Anyone know what instrument he is playing on? It has a growl I love!
He is playing the cello.(pronounced chello) I play it too! :)
This guy is crazy
mi cat and I we here.. listen.. only
what is the name at 44:58 ?
Благодарю!
He is funny. Why did he stop talking? But also....love Bach Cello!!!!!!!!!
Beautiful playing. Sometimes I wish he would use a little more bow,but so many excellent things in his interpretation that override little criticisms that I might have.
So he’s tuned to A=430 or so it seems here. On his big Bach album he’s in A=440 wonder why this differs.
Mine! I can hear the sound his left finger hitting the fingerboard.
音乐一起，感觉来了
Good very good
클래식 포에버
thacks for all
Great playing in spite of the stinginess with the bow. But the sound comes out beautifully and meaningfully.
Fraguel rock cello ouh yeah
This man’s bow hand is a thing of wonder. I mean, I think of him firstly as a great musician. Like, great. I’m almost not interested as in him as a cellist, I just love the musician. But when we get down to cello nuts and bolts, his left hand is completely rock solid, but my god that bow arm and particularly hand.
The opposite of how I play technically with the bow, but that doesn’t mean I don’t appreciate what he is doing - the opposite. I don’t understand how he gets such huge tone with such relaxation in the right hand. Some muscular tension is just a physical reality to big tone, and none is evident.
I’m not a beginner - I have ideas about how he is doing what he does, but the thing is every technique is dependent on the individuals unique physical anotomy, so the the real truth is that even if he articulated everything he consciously learnt, it wouldn’t *really* work for anyone but him.
Mechanically, I see very little tension across the back of his hand, and huge mobility both vertically and horizontally with the wrist which means it’s going through his thumb - because there isn’t anywhere else it can be going.
How much tension he is putting through it is impossible to know - and even if he described it, it would still be his subjective opinion on what he feels is a lot or a little, but, definitely, I see less movement by far on the underside of his hand.
Even that begs questions. How hard is the bow being pushed into the underneath of his fingers for example. I mean, if there was *no* pressure, the bow would fall out of his hand.
We can chase stuff like this forever. In the end we just have to admire and enjoy what he does, and find what works for us
Gut strings and a very nice cello? Also I don't think you need any tension in your hand in order to get big tone, just arm weight, bow speed, point of contact etc. You're pulling the string not pushing it down.
@@debbiemcgregor3311 if you have no tension in your hand, your bow will fall out of the bottom of it. Some tension is just a reality - and describing it is subjective.
As an example , you could watch Jaqueline du Pre’s famous performance of the Elgar cello concerto - she almost seems to be pushing her elbow over the bow in places to get more downwards pressure on it. Not what I’d do, but she definitely does.
Also, my understanding is that gut strings project less, but that could be me - I’ve always stuck to steel core.
More dynamically musical than Yo Yo Ma. Both great.